Images were prepped in Adobe PhotoShop. Generally, I convert source material to grayscale, where I'll perform aggressive color corrections to bring out the details that might suitable for engraving. This grayscale version is then converted to bitmap, usually in the 600-1200dpi range. Depending on the nature of the image I may allow a dither or mezzotint into the bitmap conversion to simulate "​tone"​. However, I've only seen that kind of detail show up if engraving in material that shows detail very well (fine grain hardwood or acrylic) and if you really commit to the time it takes to engrave at scanlines upward of 600dpi.

Images were prepped in Adobe PhotoShop. Generally, I convert source material to grayscale, where I'll perform aggressive color corrections to bring out the details that might suitable for engraving. This grayscale version is then converted to bitmap, usually in the 600-1200dpi range. Depending on the nature of the image I may allow a dither or mezzotint into the bitmap conversion to simulate "​tone"​. However, I've only seen that kind of detail show up if engraving in material that shows detail very well (fine grain hardwood or acrylic) and if you really commit to the time it takes to engrave at scanlines upward of 600dpi.

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Cutting was done in six layers, in this order. The reason for cutting the slots and engraving last is those take the longest, and this way I could see if the rest was OK before committing to possibly trashing the material. The art and text would have looked better had I gone to a higher scanline, but again, that would have driven the cutting/engraving time through the roof.

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Cutting was done in six layers, in this order. The reason for cutting the slots and engraving last is those take the longest, and this way I could see if the rest was OK before committing to possibly trashing the material. The art and text would have looked better had I gone to a higher scanline, but again, that would have driven the engraving time through the roof.